Best DSLR

If you're shopping for a DSLR you've come to the right place! At Camera Labs I write in-depth reviews of cameras but understand you're busy people who sometimes just want recommendations of the most outstanding products. So here I'll cut to the chase and list the best DSLRs around right now.

On this page you'll find what I reckon are the best DSLRs at every price-point, starting with budget models, followed by step-up and mid-range options, and finally the top-of-the range professional cameras. If you like the idea of a camera with a big sensor and interchangeable lenses, but are willing to trade an optical viewfinder for electronic composition in a smaller and lighter body, check out my best mirrorless camera guide.

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Canon's EOS 760D / Rebel T6s is a solid DSLR that represents a good step-up over entry-level models. This has always been a very successful category for Canon, so it's not surprising to find the company now splitting it into two options: the EOS 750D / T6i gives you the core spec of 24 Megapixels, 19-point AF, 5fps burst shooting, pentamirror viewfinder, fully-articulated touchscreen and 1080p movies. Then if you fancy something a bit more sophisticated, spending an extra $100 USD / 70 GBP or so gets you the EOS 760D / T6s which adds an upper LCD information screen, eye sensor, rear control wheel and viewfinder levelling gauge, along with digital zoom and HDR options for movies, and continuous AF in Live View. These additions add up to a camera that handles much better than its cheaper sibling and is well worth spending the extra on, but equally I feel mirrorless options such as Panasonic's Lumix G7 and Sony's A6000 offer more still to the target audience - compare closely if you're not wedded to the idea of having an optical viewfinder.

The D3300 is Nikon's entry-level DSLR. Like its predecessor, it boasts a 24 Megapixel APS-C sensor, but this time Nikon has dispensed with the low pass filter for slightly crisper-looking photos that essentially match the D5300 and D7100. The other major new feature is an updated kit lens which collapses to save space during transportation - it's still nowhere near as compact as a mirrorless camera, but at least it's more portable than earlier Nikon DSLR kits. The D3300 also offers 1080p movies at 60p, a range of filter effects, and like earlier models in this series offers a friendly GUIDE mode for beginners - a benefit that's not to be underestimated if you're stepping-up from a more basic camera. In some respects the D3300 is falling behind rivals, for example there's no built-in Wifi and inexplicably still no AE bracketing, but it remains a solid entry-level DSLR. Look out for bargains now the D3400 is available.

Nikon's D5500 is an upper entry-level DSLR aimed at photographers looking for a step-up from a budget model without the expense or complication of a higher-end camera. It shares the same 24 Megapixel resolution as the models above and below it, but remains the only model in the entire range to feature a fully-articulated, side-hinged screen. Like the D5300 before it, the screen remains large at 3.2in, but in a welcome upgrade, it's now touch-sensitive. The GPS of its predecessor has sadly gone, but the Wifi remains, allowing you to wirelessly transfer images or remote control it with your smartphone. The collapsing kit zoom impacts the ultimate image quality, and the movie / live view autofocusing is slower and noisier than rival Canon bodies fitted with STM lenses. But none of this stands in the way of what's a very solid DSLR for the money. Do compare closely with Canon's EOS T6i / 750D, and in the mirrorless World, models like the Sony A6000.

Canon's EOS 80D is a mid-range DSLR that's equally confident whether shooting through the traditional optical viewfinder or in Live View with the fully-articulated touch-screen. The new 24 Megapixel APS-C sensor may have four more Megapixels over the earlier 70D, but importantly upgrades the Dual Pixel CMOS AF system that now supports smooth and confident refocusing with the entire EF lens catalogue, and in 1080p movies up to 60p. Meanwhile the new viewfinder AF system sports a broader and denser array of AF points than the 70D and works down to dimmer light levels of -3EV. But beyond addressing some feature shortfalls with the 70D and rival Nikon bodies, there's not a great deal that's really new here and crucially for a camera which otherwise excels at movies, there's still no 4k video. But equally there's no denying the charm of the EOS 80D. There's something highly compelling about composing stills - especially following action - through a traditional optical DSLR viewfinder, then switching into Live View and knowing you have one of the best AF systems around for movies. I also love having a fully-articulated touch-screen and built-in Wifi, and while a handful of powered zooms have been available from other manufactures in the past, it's nice to see Canon offering one for its EOS system. A solid all-rounder.

The Nikon D7200 is the company's latest upper mid-range DSLR aimed at enthusiast photographers. Successor to the D7100, it slots between the D5500 and D610 in the range, making it the highest-end Nikon DSLR with a cropped DX-format sensor. Externally the D7200 is essentially identical to the D7100, so you get a weather-sealed body with an optical viewfinder boasting 100% coverage, 3.2in / 1229k dot screen, 6fps burst shooting (boostable to 7fps in 1.3x crop mode), twin SD slots and a wealth of ports. The resolution remains 24 Megapixels but new to the D7200 are improved low-light AF, an enlarged buffer and built-in Wifi with NFC. Other enhancements include the faster EXPEED 4 processor, 9-frame AEB, a 50p / 60p video option (albeit only in the 1.3x crop mode), timelapse shooting, slightly extended battery life and a flat picture control profile. Compare closely with the Canon EOS 70D (above) and 7D Mark II (below).

Canon's EOS 7D Mark II is one of the toughest, fastest and most confident DSLRs for sports, action and event photography. If you always wanted the flagship 1Dx but couldn't afford it or accommodate the size and weight, the 7D Mark II will give you most of its handling performance in a smaller, lighter and much cheaper package. Indeed it'll also throw-in AF in lower light, effective focusing for movies and a built-in GPS receiver. Sure it can't compete with full-frame cleanliness in low light, but the field reduction applied by the APSC sensor is actually preferred by many sports and wildlife photographers. If you're after a camera mostly for landscape, architecture or more general-use, you'll be better-served by one of the many high-end mirrorless options now available, but if you're a sports, action or event shooter who likes to seamlessly capture quality stills and video, the 7D Mark II will make your job a breeze. If you're not wedded to EF lenses though, also consider Nikon's newer and arguably even more confident D500.

The D500 marks Nikon's welcome return to the high-end APSC DSLR market. The combination of a new 20 Megapixel sensor, 10fps continuous shooting, a deep buffer (especially if you're using XQD cards), and a new 153-point AF system shared with the D5, makes for a supremely confident camera. In my tests the D500 effortlessly tracked any subject I pointed it at, rattling-off bursts of focused images with eerie precision and consistency. On top of that you're getting a large viewfinder, twin memory card slots, tough build quality, and backlit buttons which make it easy to use in the dark. It also features a large and detailed screen that's touch-sensitive and tilts vertically, and allows you to record 4k UHD video in addition to 1080p. Learn how to configure SnapBridge and you'll also enjoy one of the easiest ways to wirelessly tag and share your images. Sports and wildlife photographers will love the D500 which is arguably the most confident APS-C DSLR to date.

The Nikon D750 is a very capable high-end DSLR that successfully positions itself between the existing D610 and D810 - a slot which may, at first, seem unnecessary, but which has ended up delivering one of the most compelling models in the range. Nikon's been very careful with the feature-set, picking aspects of both models on either side of it, while adding others that make it unique and arguably the company's most forward-thinking full-frame DSLR to date. So the D750 gives you a 24 Megapixel full-frame sensor in a tough body that's weather-sealed to the same extent as the D810, a 51-point AF system that works in lower light than the models on either side of it, 6.5fps continuous shooting, 1080 video at 60p, 9-frame AEB, and becomes the first full-frame Nikon DSLR to feature an articulated screen and built-in Wifi. It lacks the ultimate resolving power of the D810, not to mention its 1/8000 shutter and PC Sync port, but costs around $1000 USD less while also including Wifi and the tilting screen. It's become my favourite DSLR in the current Nikon line-up.

Canon's EOS 5D Mark IV is the long-awaited fourth model in the enormously popular series of full-frame DSLRs. Coming over four years after the previous EOS 5D Mark III, the Mark IV boosts the resolution to 30.4 Megapixels with a new full-frame sensor that supports Dual Pixel CMOS AF for confident refocusing during Live View and movies. It accelerates continuous shooting from 6 to 7fps, inherits the 61-point AF system and 3.2in touch-screen of the EOS 1Dx Mark II, and can film 4k movies (in the DCI Cinema format) up to 30p, along with 1080 / 60p and 720 / 120p. The body shares essentially the same control layout as before so will be immediately familiar to owners of the Mark III, but now features improved weather-proofing along with a built-in GPS and Wifi with NFC. It represents a significant step-up from the Mark III, but high-end videographers will be frustrated by the tight crop and high bit-rate when filming 4k, and the lack of Log profiles, peaking, zebras and 4k on the HDMI output; indeed if you're only into shooting 4k video, I'd recommend Sony's A7s Mark II for full-frame or the A6300 for APSC. But Canon is keen to retort the Mark IV is more about stills and it does these very well. It's undoubtedly a powerful all-rounder, just no longer the no-brainer the Mark III was for video.

The D810 is Nikon's highest resolution DSLR, boasting a 36 Megapixel full-frame sensor which delivers images jam-packed with fine detail. It's the joint-successor to the D800 and D800e, sharing essentially the same body, but with reduced vibrations and an improved sensor. Unlike the earlier D800e which cancelled-out the effect of its low pass filter, the D810 has none at all to deliver what Nikon describes as its best quality yet. The sensor is coupled with the latest EXPEED 4 image processer, inherited from the D4s. This boasts lower noise and more accurate white balance, as well as supporting 1080p video at 50p / 60p and slightly faster continuous shooting rates up to 5fps in FX or 7fps in DX. Also inherited from the D4s is a 51-point AF system which supports zonable areas. There's also a new clarity picture adjustment, a flat rendering option for stills or video destined for post production, and a new highlight-weighted metering option. What the D810 doens't have though is Wifi, focus peaking, 4k video or a tilting touch-screen, and while it was previously the resolution leader, it's now out-gunned in numbers by Sony's 42 Megapixel A7r Mark II and Canon's 50 Megapixel EOS 5DS(r) below. But if you're wedded to the Nikon system, the D810 represents the current pinnacle of image quality and even alongside its higher resolution rivals, it still produces fantastic results.

The Canon EOS 5Ds is essentially an EOS 5D Mark III with double the resolution: no fewer than 50 Megapixels, making it the highest resolution full-frame DSLR to date. Sure there's a number of other small but useful upgrades, many focused on ensuring the resolution isn't squandered by vibration, but there's no denying the 5Ds is all about the sensor. Basically if you loved everything about the EOS 5D Mark III but wished it delivered bigger files, then this is the camera for you. The only question for those who want to stay committed to the EF system is whether to go for the 5Ds or the 5Ds R which cancels the effect of the low pass filter for potentially crisper results at the risk of greater moire. It depends on your subject and how bothered you are about moire. If you shoot natural landscapes or other organic shapes, there's normally little chance of the fine repeating patterns which can trigger moire, in which case go for the 5Ds R. But if you mostly shoot man-made textures like clothing, or even fine patterns in buildings, then moire can be an issue, in which case the 5Ds is probably a safer bet. If you're open to the idea of mirrorless though, I'd strongly recommend considering the Sony Alpha A7r Mark II.